Notes:
♪Suzuki Junzo's New Guita- Album from his own 'plunk's plan recordings'! 3 long tracks over 50 minutes. Eight-Sided Infinity is Heavy fuzzed/echo psychic jam with Ikuro Takahashi (Kousokuya, LSD march, ex Fushitsusha) and 2 more drone/hypnotic blues for Insane people! Recorded at Sapporo/Kawasaki in 2010-2012!!
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REVIEW:20ギルダーズ/みみのことなどで活動のスズキジュンゾのギターアルバム第四弾が、自身の「plunk's plan」より紙ジャケ・ダブルジャケットにて発売！ 高橋幾郎が参加したことにより、重量感あふれるサイケデリックが出現した！ PSF RECORDS/Modern Music
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現在みみのこと、20 GUILDERSでも活動するギタリスト／シンガーの'12年作ソロ。高橋幾郎の暴走ドラムスともんどりうってハードにブギりまくる一曲目で飛ばされます。長尺ナンバー３曲入り。円盤
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スズキジュンゾが2年の歳月をかけて札幌/川崎で録音した長尺の3曲を収録したギターアルバム第4弾!!
高橋幾郎(LSD-march/光束夜/不失者)をドラムに迎えた冒頭のタイトル曲は、ファズギターの嵐が吹き荒れる重量級サイケ。元Ghost/Overhang Partyの山崎巌がパーカッションで参加した深遠なアンビエントを挟み、最後は23分超のヘヴィ・ドローンで〆。エコーを自分の音のように駆使し、自身の咆哮を楽器のように操り、なによりもこのギターの音はどこからどう鳴らされているのでしょう。爆音で聴いて、打ちのめされるべし。サンレインレコーズ
--After the Success of the reissued 'Ode to a Blue Ghost', Junzo returns to that format of big long deverstating tracks. whilst 'Eight-Sided Infinity' may have just three studio tracks, you are not going to be left half fall by this power feast of album.
The opening title track is an obsode Killer with a storm of eight-armed drumming, effect-distorted vocals and reality-ripping electric guitar. Junzo sounds like he is smashing through the walls of time and space itself.
'Pouring High Water Blues Dead' sounds like o score for a Leone Merzaq collaboration. Junzo picking out lonesome guitar notes against a strange, widescreen background.
It ends with the 23 minutes 'Electric Funeral Parade of the Roses', a dense pulsing soundscape which gives Junzo rrom for some deep chanting and guitar sccorpings. 'Eight-Sided Infinity' is an unholy trinity of reconstructures rock oblivion.Was-Ist-Das --
Excellent new self-released album from Japanese underground guitarist/vocalist and Miminokoto member Suzuki Junzo: this is a wild side, kicking off with a massivel y overdriven dunting two chord sledgehammer monster where Junzo channels Sweet Sister Ray-isms through an imploding amp with enough feedback worship to make Mizutani wince. He's joined on the first amazing track by drummer Ikuro Takahashi of Fushitsusha/Kousokuya who carves nod-out metal shapes from the insane bottom end gravities. From here it moves deeper into classic minor chord Japanese psychedelic balladry, with Junzo's vision of acid folk downs supported by halos of sad reverb and the kinda homesick-for-infinity feel of the best Shizuka or Suishou No Fune. Have enjoyed Junzo's work for a while but this is a particular monster. Recommended!' VOLCANIC TONGUE--
Happy Friday-- get your ear cilia ready for a tickling by the realest jams courtesy of guitar man, Suzuki Junzo , of latter-day Japanese Psych titans, Minimokoto . The first and titular track is archetypical J-Psy courtesy of skin-beater Ikuro Takahashi of LSD March and, formerly, Keiji Haino's legendary Fushitsusha. There have to be more terms in Japanese for "devastating" and "pummeling" and "assault" to describe what happens here, but unfortunately there are only so many words in Webster's Rock Journalism Dictionary. The other two guitar-drone tracks are some serious pools of sonic magma, reminding listeners exactly why Junzo was such a logical pairing with the one and only Hiroshi Hasegawa AKA Astro for their 2006 collaboration as Astral Traveling Unity. Michael Sugarman of Adhoc.fm-
Na de heruitgave van Ode To A Blue Ghost de tweede release dit jaar van de voormalig gitarist van het legendarische Overhang Party. Het openings- en titelnummer is een oorverdovende jam met Ikuro Takahashi (Fushitsusha) op de drums. Een kwartier lang horen we fuzzy gitaren met veel echo en distortion boven alles uitstijgen, en hoewel er weinig structuur of creativiteit is te bekennen maakt het lawaai behoorlijk indruk. De twee andere nummers gooien het over een andere boeg: hypnotiserende bluesakkoorden brengen het album in rustiger vaarwater, en voegen een gewenst element van artisticiteit toe. Suzuki toert in oktober door Europa.(Justin Farrase of De subjectivisten)
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Guitarist Suzuki Junzo , a member of Tokyo psych-garage trio Miminokoto since 2008, has been putting a lot of energy into his solo career lately: Eight-Sided Infinity (Plunk's Plan) is his third release this year, counting a live record, Awake in the Wuthering Heights , and a Utech reissue of 2009's Ode to a Blue Ghost . The latter album appears to be the star of this solo tour, which shares its name, and it deserves all the play it can get. The 20-plus-minute title track is an eerie, windswept fantasia on the theme of Lonnie Johnson's " Blue Ghost Blues " (first recorded in 1927), and it's completely mesmerizing. Junzo can swerve all over the map, from heavy riffing to chilling acid-folk to piercing feedback sculpture; at times he could almost pass for Keiji Haino, if Haino were more grounded and less otherworldly, and sometimes he sounds like he's built a souped-up off-road vehicle from spare parts that High Rise or Mainliner left lying around.
(Monica Kendrick of Chicago reader)
-- Guitarist Suzuki Junzo creates intense, abstract and unstructured freeform kraut rock or noise rock that is essentially similar to groups like Acid Mothers Temple, sounding a bit like the "Feedback" movement of Grateful Dead's "Live/Dead" stretched to album length, discarding all the conventional rock elements except an aching blues tonality.
Compared to his "Ode to a Blue Ghost" album (recently re-issued on Utech Records), "Eight-Sided Infinity" is a great deal less minimal and restrained, more of a jam than a composition with forethought behind it. The feeling is more positive, as well, a kind of beatific union with all things, and I find this to be a wamer and more easily listenable record.
The title track is a chugging surge of distortion that speeds up and slows down according to the whims of the psychedelic energy currents. This piece has a heavier feel than the others due to Junzo's inclusion of a drummer. For 15 minutes, Junzo rides into the infinite on a power chord periodically engulfed by stormy feedback squalls. In the last few minutes, he dwells maliciously long on a dissonant, atonal chord until the piece finally dissolves itself into an abrasive scattering of drumset fills and shrieking amplifier resonance. Intense staccato whispers from Junzo punctuate the subliminal rhythmic structure. Both of the other two pieces opt for a sparser and slower ambient approach, with no drums to speak of. "Pouring High Water Blues Dead" is one for the desolate plains, a sparse collection of Western tinged guitar licks which echoes into a swirling emptiness. The piece later swells with crackling, quavering and rustic E-bow tones that accentuate the underlying minor chord.
The closing track, "Electric Funeral Parade of the Roses", occupies the record's entire B side at 23:48, and is the most spacious of all. Echoing amplifier hum comprises the first several minutes of the piece. Junzo steadily but very gradually amasses energy, twisting the feedback into increasingly shadowy and dissonant shapes. A couple bluesy wails penetrate the gloom, but they are without grounding, adrift in the noise. Junzo's gasping voice can be heard in the background, engaged rhythmic, moaning chants, drawing in extradimensional presences.
I would recommend this album to anyone open to freeform psychedelic jamming and guitar noise. "Eight-Sided Infinity" is a pleasure to listen to, and shows that Suzuki Junzo is consistently capable of creating powerful and emotional sounds that are immersive and engaging.
(Josh Laundry of Musique Machine)
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